Zabytki i dzieła sztuki, jako przedmioty ochrony

Author(s): Ewa Charymska / Language(s): Polish Issue: 1/2015

The article presents the concepts of protection of monuments and works of art in past centuries to modern times. Through the analysis of normative acts and literature article it shows not only the definition of monuments and works of art, but also the criteria for providing for their value. And thus demonstrating their role and importance in the creation of the cultural heritage of the nation. Also raises issues of duties and responsibilities of the various actors in creating the protection of monuments flowing both the general national political agendas and international legislation.

POSTSOVIETSKE DIVADELNÉ PARALELY

Author(s): Nadežda Lindovská / Language(s): Slovak Issue: 01/2014

The study is a comparative reflection on the development of performing arts in Russia and Slovakia at the turn of the millennium. Understanding the peripheries of post-Soviet transformation of Russian theater deepens the knowledge of social and aesthetic contexts regarding the transformation of Slovak theatre at the turn of the 21st century. The disintegration of the Soviet Bloc in the late 80s and the early 90s of the 20th century changed the situation in the world and launched a major transformation in the post-communist countries. Along with the economic and political system, culture was also inevitably changing. And not only in the former satelites of the Soviet Union, but in Russia itself the art outgrew the Soviet model in both, ideological as well as aesthetic plan. Privileged status of Russian culture has become a thing of the past. In the following years, Slovakia has become the independent state with parliamentary democracy and market economy and joined the EU. Russia has undergone its own path of development. Despite a different orientation of the two countries at the turn of the millennium, both the Russian and Slovak theater experienced in many ways analogous situation: the decline in social status of performing arts, opening to the world, the introduction of so-called new drama, transformation of directing and acting, etc. When approaching breakthrough processes in Russian theatre, the study is based on the author‘s personal knowledge of Russian theater and on the publications written by Russian theatre critics Marina Davydova, End Theatrical Era and Anna Vislova, Russian Theatre at the Turn of the Millenium.

OD LŽI K PRAVDE TRI FILMY IRÁNSKEHO REŽISÉRA ASGHARA FARHADIHO

Author(s): Viera Langerová / Language(s): Slovak Issue: 02/2014

In 2012, the Slovak cinemas screened award winning Iranian film A Separation, with numerous awards from international film festivals, among others American Film Critics Award Golden Globe and American Film Academy Award for foreign language film, Oscar. It was the first ever Oscar awarded to an Iranian film and the first Iranian film in our distribution. Last year’s Cannes Film Festival premiered Farhadi’s latest film The Past, which follows the theme of family relationships in crisis. Along with the film About Elly from 2009, these films offer an extensive insight into the internal affairs of the society, seeking a balance between the requirements of theological state and pressure of modernization and secularism on the needs of everyday life. The content and dramaturgical structure of these stories additionally refer to artistic constants such as Persian poetic tradition and Islamic mysticism, and thus bring distinctive features into the concept of European approach to relationships among the people.

DIVADELNÍK, KTORÝ MOŽNO PRIŠIEL PRISKORO – JACQUES COPEAU (1879 – 1949)

Author(s): Michaela Jurovska / Language(s): Slovak Issue: 02/2015

A collection of studies, essays and memories Jacques Copeau hier et aujourd´hui (Jacques Copeau Yesterday and Today), dedicated to one of the key personalities of 20th-century French theatre, Jacques Copeau (4 February 1879 – 20 October 1949), is not a common book publication in our cultural, theatre and scholarly context. It was initiated by the Slovak editor and author Miloš Mistrík and issued in French as a co-edition of VEDA, the publishing house of the Slovak Academy of Sciences, and Editions de l’Amandier based in Paris. It includes contributions by experts from six countries and three continents. The international team of researchers describes many aspects of Copeau’s legacy, which seem highly topical again today. As a bonus, the publication contains a play written by Copeau’s disciples Jean Villard Gilles and Michel Saint-Denis, Les jeunes gens et l´araignée ou la Tragédie imaginaire (The Youth and the Spider, or a Seeming Tragedy), which has been made available to the public in France and elsewhere for the first time.

DRAMATURGIA NEZÁVISLÝCH KULTÚRNYCH CENTIER

Author(s): Miroslav Balay / Language(s): Slovak Issue: 03/2014

This article deals with two independent cultural centres in Slovakia – the Stanica Žilina-Záriečie (Žilina-Záriečie Station) cultural node and the Záhrada (Garden) independent cultural centre, a non-profit organization which is based in Banská Bystrica. Particular attention is paid to certain dramaturgical tendencies, functions and associations made with a particular spatial location as well as the cultural centres’ influence on the specific regional cultural climate and overall location. The article maps the background to particular activities in the development of theatre culture and covers the special arrangements put in place for the emergence and existence of individual works from a perspective asserting that the physical realization of particular residencies is of unequivocal benefit to the laboratory-like cultivation of the contemporary poetics of independent theatre and dance.

Self-publishing as a Surrealist Strategy: The Samizdat Catalogues of the Surrealist Group in Czechoslovakia

Author(s): Kristin Watterott / Language(s): English Issue: 2/2020

During the period of so-called normalization in the former Czechoslovakia, the restrictive cultural policy ousted numerous oppositional artists, theoreticians, and writers from the public cultural sphere through bans on exhibitions and publications. As a consequence, the affected individuals developed their own means of enabling creative, scientific, and literary work beyond censorship. A key medium for the realization of officially banned texts, studies, and projects was illegal and clandestine self-publishing, also called “samizdat”.This article discusses the phenomenon of samizdat using the example of the self-produced collections of the Surrealistická skupina v Československu. In the 1980s, the community created two (fictitious) exhibition catalogues, Sféra snu (1983) and Proměny humoru (1984), which presented the individual and collective surrealist activities with images, quotations, and written descriptions. However, the editions were not only a media of documentation to reconstruct surrealist practice. They were at the same time a creative way to exhibit their content in its own specific artistic forms and theories of art. In this paper, I explore the unacknowledged dual-function of the ‘70s and ‘80s Czech surrealist samizdat as both an archival technique and a work of art. I investigate the function of these volumes for group artistic praxis and how it reflects creative production under the social conditions of the time.

Beatlephiles and Zappists: Rock Fandom in Communist Czechoslovakia in the Context of the Scene in Brno in the 1980s

Author(s): Jan Blüml / Language(s): English Issue: 2/2020

The history of rock in Communist Europe has been viewed by a number of domestic and foreign authors as a series of events with a dominant political content, either in the form of a general youth revolt or directly in the spirit of anti-communist opposition. In this regard, the present study extends the current simplifying concept with an emphasis on the reception history, including relevant issues related to the typology of listeners and aesthetics. The primary subject of this paper is the reception of two of the most influential representatives of Anglo-American popular music in Communist Czechoslovakia, these being the Beatles and Frank Zappa. The reception of both artistic subjects is reflected in the specific space of the Brno scene of the 1980s, within the framework of the artist fan clubs which had no parallel anywhere else in the country. The study demonstrates the specifics of American and British rock fandom in the given time and space and challenges the long-held narrative about the supremacy of the political functions of rock behind the Iron Curtain.

Not Just a Zine: the “Rollin Under” Zine and Thessaloniki’s DIY Music-making (1985 – 1990). Thessaloniki’s DIY Music Scene

Author(s): Alexandra Karamoutsiou / Language(s): English Issue: 2/2020

From the early 1980s, with the common ground of the DIY ethos, lots of and different kinds of popular music idioms (from hardcore, punk to reggae and trip-hop) blossomed in Thessaloniki, Greece. This rich and constant music-making would not have been as vivid during its first period (1982 – 1994) without its own pillars of distribution, which consisted of independent labels and music stores, pirate radio stations and fanzines. In this essay I will focus on Thessaloniki’s emblematic fanzine Rollin Under, which was active from 1985 to 1992. I will show the relationship between Rollin Under, Thessaloniki’s music scene, the DIY ethos and the Greece’s historical and political context of that time. Finally, I will describe fanzines as alternative cultural spaces through which we music historians can “hear” the voices and untold stories of the participants of the music we research.

Conference report: “Twenty-First Annual Czech and Slovak Studies Workshop at UNC-Chapel Hill”, USA, April 29-30th, 2022

Author(s): Tereza Juhászová / Language(s): English Issue: 2/2022

Report on the conference “Twenty-First Annual Czech and Slovak Studies Workshop at UNC-Chapel Hill”, held in the USA on April 29-30th, 2022

L’osmosi tra l’Io e il Cosmo nell’antica Ellade

Author(s): Rosina Scalise,Sara Bacchini / Language(s): Italian Issue: 1/2020

Since the dawn of civilization, human beings have sought in dance and music a way to reunite and osmotically merge with the Universe. This will to unite with the Cosmos is very strong in the society of ancient Greece, as documented by the paintings on the vases and other archaeological discoveries that have been made to this day. Even in the mythological heritage that the ancient Greeks left us and the epic poems to this day, we clearly observe this need to achieve ecstasy through music, dance and singing. Dance was the first expression of the Universe: body and spirit reached a melting point, reproducing an archetypal figure. This was also the only universe where the Greek woman could feel free and equal to the man.

Kapłani, artyści i kacerze, czyli spotkania zmartwychwstańców z Wojciechem Kornelim Stattlerem i Adamem Mickiewiczem w Rzymie i Paryżu

Author(s): Maria Nitka / Language(s): Polish Issue: 3/2023

Artykuł rozważa różne postawy ideowe wśród Wielkiej Emigracji, reprezentowanej przez grono przyjaciół Adama Mickiewicza – malarza Wojciecha Kornelego Stattlera oraz Zgromadzenia Zmartwychwstańców, zwłaszcza o. Hieronima Kajsiewicza i o. Piotra Semenenkę. Punktem wyjścia dla prezentacji postaw jest odkryty podczas inwentaryzacji i dokumentacji kolekcji sztuki Zakonu Zmartwychwstańców w Rzymie obraz ukazujący Chrzest Chrystusa w Jordanie, w którym Jan Chrzciciel ma rysy Adama Mickiewicza. Obraz został przypisany Stattlerowi, w wyniku analizy oeuvre i prześledzenia kontaktów malarza z Mickiewiczem. Takie wyobrażenie chrztu Chrystusa zostaje powiązane z mesjanizem, a później również towianizem Mickiewicza i jego oddziaływaniem na emigrację. W tym kontekście zostały ukazane postawy zmartwychwstańców, którzy zaangażowali się w zwalczanie towianizmu. Nie rezygnowali jednak z próby „odzyskania” poety dla sprawy polskiej i przechowywali pamięć o poecie.

Осемнадесети международни Цар-Шишманови дни

Author(s): Rossen Malchev,Konstantin Rangochev / Language(s): Bulgarian Issue: 49/2024

Nemirni šolski razred štajerskega slikarja Ferdinanda Mallitscha iz 1876

Author(s): Branko Šuštar / Language(s): Slovenian Issue: 2-3/2024

The classroom with teacher and pupils had been of artistic interest to painters since the Middle Ages, and in the 19th century it became a popular genre motif. With the experience of academic schooling in Graz and Vienna and study trips as far as Paris, the Styrian painter Ferdinand Mallitsch, already noted by his contemporaries for the quality of his work, took up the subject of school painting when his two sons were growing up, adding to his previous interest in landscapes, portraits and family scenes. He depicted a lively classroom break in a dynamic, dramatic painting with more than twenty exuberant pupils caught in the moment of the teacher's arrival. This interesting motif in the history of education has not been overlooked among classroom scenes, but it is not very well known. However, with the availability of the Internet, it is becoming even more prominent. This classroom motif from 1876, presented here as Mischief in the Classroom, has had a variety of names: Die Zwischenstunde in der Dorfschule, Die entfesselte Schulklasse, and Vor der Schule. Born in Graz in 1820, the painter helped to shape a particularly German part of the culture of the then German and Slovenian-speaking Styria as one of the lands of Habsburg Austria. But the artistic expression speaks beyond language and time. On his father's side, the painter belonged to the Malič/Mallitsch family from Ljubljana, but he was connected to the Slovenian lands through his mother's family, the Vischners from Graz, when he managed the family vineyard estate Vukovski dvor (Willkommhof) near Pesnica pri Mariboru. He died in 1900 in Lenart in the Slovenske gorice region.

Truizmy Jenny Holzer jako kontrhegemoniczna praktyka artystyczna

Author(s): Magdalena Adamska-Kijko / Language(s): Polish Issue: 19/2020

Celem artykułu jest interpretacja strategii artystycznych wykorzystanych przez amerykańską artystkę neokonceptualną Jenny Holzer w pracy Truizmy w kontekście agonistycznej koncepcji polityki Chantal Mouffe. Powstały pod koniec lat 70. XX wieku ciąg wzajemnie wykluczających się znaczeniowo jednowersówek, pozbawionych autora, multiplikowany w różnorodnych formach i obszarach życia codziennego – od przedmiotów jednorazowego użytku, takich jak długopisy czy prezerwatywy, aż po tablice świetlne na Times Square – staje się doskonałą metonimią tego, co można nazwać wiedzą potoczną. Powielając pracę w różnorodnych formach i kontekstach od końcówki lat 70. XX wieku aż do dziś, Holzer obnaża sposoby uprawomocniania się przestrzeni dyskursywnych, próbując włączyć do niej swój własny język.

Šejh Mes’ud Hadžimejlić na izložbi „A Red Golden Legend? The Return of the Saints in (Post)Communist Worlds“

Author(s): Zora Kostadinova,Meliha Teparić / Language(s): Bosnian Issue: 65-68/2024

Review of the exhibition "A RED GOLDEN LEGEND? The Return of the Saints in (Post)Communist Worlds"

Архитект Фридрих Грюнангер и България

Author(s): Lyubinka Stoilova / Language(s): Bulgarian Issue: 2/2025

This paper explores the work of Friedrich Grünanger in Bulgaria from 1879 until his retirement (1914–1915). At a time when the country faced an acute need for specialists, the architect dedicated his 35-year career to supporting rapid social progress. He addressed a wide range of professional challenges for various institutions and social circles, introducing contemporary knowledge and expertise from Central Europe. Well-known aspects of Grünanger’s biography are expanded with new insights into the life circumstances that shaped his work, which unfolded in three overlapping phases: as a civil servant, as a freelance designer, and as an architect at the “Evlogi and Hristo Georgievi” Ephoria. These roles intertwined over time, influencing one another. The analysis of the architect’s personal style within a broader pan-European context, complemented by newly discovered drawings and photographs, enriches our understanding of Bulgarian architecture and culture during the transition from the 19th to the 20th century.

Академик Георги Яковлев(ич) Кирков – дизайнер на първите български парични и филателни емисии

Author(s): Tsveti Pchelinski / Language(s): Bulgarian Issue: 2/2025

This article explores the life and extensive, multifaceted creative work of Georgi Yakovlev Kirkov—a prominent educator and polymath, one of the eminent architects of modern Bulgaria. He actively contributed to the establishment and leadership of many of the country’s first modern administrative and scientific institutions. A key focus is placed on one of his most significant contributions: the design of Bulgaria’s first revenue stamps, postage stamps, postcards, banknotes, and coins. Based on collected archival materials, this study sheds light on the early history of postal services and telecommunications in Bulgaria in the years following the Liberation.

Ролята на театралния репертоар през погледа на властта в България 1944–1948 година

Author(s): Hristiyan Danchev / Language(s): Bulgarian Issue: 2/2025

This study aims to answer the question, “Whom does the theater serve?” during the period of the so-called People’s Democracy (1944–1948) through the prism of the repertoire policy pursued at the time. It traces the evolution of the state’s understanding of repertoire policy and theater itself during a transitional and turbulent period, when the foundations of the socialist conception of Bulgarian theater’s role and place in the socio-cultural sphere were being laid. The study employs the method of historical analysis and is based on a large number of archival materials, many of which are introduced into scholarly circulation for the first time. It elucidates the interrelation between domestic and foreign political processes on the one hand and the developments in theater on the other, demonstrating how theatrical dramaturgy gradually became a mechanism for serving the government’s agenda – reinforcing the present and unveiling the “glorious” prospects of the future.

THE MUSICAL METAPHOR IN THE DRAMATIC WORK OF ION LUCA CARAGIALE

Author(s): Denisa Elena PETREHUŞ / Language(s): Romanian Issue: 40/2025

As a man of the theatre, Caragiale was almost that "impossible" exception that Craig dreamed of! A total theater man, as Victor Ion Popa tried to be later. He knew the theater as Shakespeare and Moliere knew it, as a man from the inside. "Born" in the theater, I.L. Caragiale succumbed to his family's passion for "dramatic art an absolute qualitative level" 1, as a breather and actor, director and dramatic chronicler, author and theoretician, director and passionate reformer of the theater.

ATMOSPHERE IN DRAMATIC TEXT AND THEATRICAL DISCOURSE

Author(s): Ana Ghilaş,Vera Mariancic-Cobzac / Language(s): Romanian Issue: 40/2025

In this article, the concept of atmosphere as an aesthetic category and the ways it is artistically realized in both the dramatic text and the theatrical performance are discussed. In each of these artistic forms, the subject and space-time, as well as the discursive and rhythmic-melodic organization of the action, represent the main aspects in creating atmosphere.In the dramaturgical text, the relationship between literariness and theatricality, dialogue as a mode of subjective exposition, and stage directions as the author’s presence are essential. When reading a dramatic text, the “beginning effect” plays a crucial role in perceiving the atmosphere of the artistic imaginary. Analyzing the specifics of dramatic language—its expressiveness generated phonetically, lexically, and melodically—and examining how space-time is constructed in the text are the first steps in the receiver’s immersion into the atmosphere of the action.In theatrical discourse, understood as a syncretic art form, atmosphere requires a more complex realization. We refer in particular to the views of M. Chekhov, director and actor, for whom atmosphere constitutes the “action, process, energy” that the performance emanates.